John William Godward
John William Godward's
Oil Paintings

John William Godward Museum
9 August 1861-13 December 1922, was an English painter.

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Here are all the paintings of John William Godward 02

ID Painting  Oil Pantings, Sorted from A to Z     Painting Description
68057 The Belvedere John William Godward The Belvedere 1913(1913) Oil on canvas 34 1/2 X 23 1/2 inches (87.8 X 59.8 cm)
1802 The Betrothed John William Godward The Betrothed 1892
67863 The Bouquet John William Godward The Bouquet 1899(1899) Oil on canvas Private collection
74876 The engagement ring John William Godward The engagement ring oil on canvas.
68069 The Fruit Vendor John William Godward The Fruit Vendor 1917(1917) Oil on canvas 20 X 39 3/8 inches (50.8 X 100.3 cm)
67807 The Jewel Casket John William Godward The Jewel Casket John William Godward
67869 The Jewel Casket John William Godward The Jewel Casket The Jewel Casket, 1900
68472 The Jewel Casket John William Godward The Jewel Casket Godward - The Jewel Casket
68102 The Melody, circa John William Godward The Melody, circa The Melody, circa 1904
67866 The Mirror John William Godward The Mirror 1899(1899) Oil on canvas 31 5/8 X 14 3/4 inches (80.6 X 37.5 cm)
51792 The Muse Erato at Her Lyre John William Godward The Muse Erato at Her Lyre mk221 1895 Oil on cavnas 73x82.6cm Britain 1861-1922
68062 The New Perfume John William Godward The New Perfume 1914(1914) Oil on canvas 40 1/8 X 20 inches (102 X 51 cm)
70591 The Old Old Story John William Godward The Old Old Story Medium Oil on canvas Dimensions 51 3/8 ?? 27 7/8 inches
67992 The Old, Old Story John William Godward The Old, Old Story 1903(1903) Oil on canvas 51 3/8 X 27 7/8 inches (130.8 X 71.1 cm)
68095 The Old, Old Story John William Godward The Old, Old Story Oil on canvas 71.5 X 86.5 cm (28.15 X 34.06 in)
68055 The Peacock Fan John William Godward The Peacock Fan 1912(1912) Oil on canvas 31 3/8 X 15 inches (80 X 38.4 cm)
71832 The Peacock Fan John William Godward The Peacock Fan 1912(1912) Oil on canvas 31 3/8 x 15 inches (80 x 38.4 cm)
67810 The Ring John William Godward The Ring Author John William Godward
67859 The Ring John William Godward The Ring The Ring, 1898
73306 The Ring by John William Godward John William Godward The Ring by John William Godward The Ring by John William Godward cjr
68001 The Tambourine Girl John William Godward The Tambourine Girl 1906(1906) Oil on canvas 45 X 29 7/8 inches (114.5 X 76 cm)
1801 The Tease John William Godward The Tease 1901
68064 Tranquillity John William Godward Tranquillity 1914(1914) Oil on canvas 20 X 32 inches (50.8 X 81.3 cm)
68065 Tranquillity John William Godward Tranquillity 1914(1914) Oil on canvas 20 X 32 inches (50.8 X 81.3 cm)
68070 Under the Blossom that Hangs on the Bough John William Godward Under the Blossom that Hangs on the Bough 1917(1917) Oil on canvas 24 X 32 inches (61 X 81.3 cm)
67873 Venus at the Bath John William Godward Venus at the Bath 1901(1901) Oil on canvas 67 3/4 X 24 inches (172.1 X 61 cm)
67857 Venus Binding her Hair John William Godward Venus Binding her Hair Venus Binding her Hair, 1897
67957 With Violets Wreathed and Robe of Saffron Hue John William Godward With Violets Wreathed and Robe of Saffron Hue 1902(1902) Oil on canvas 27 1/8 X 21 1/4 inches (69 X 54 cm)
70860 With Violets Wreathed and Robe of Saffron Hue John William Godward With Violets Wreathed and Robe of Saffron Hue Medium Oil on canvas Dimensions 27 1/8 x 21 1/4 inches (69 x 54 cm)
67849 Yes or No John William Godward Yes or No Yes or No, 1893
71474 Youth and Time John William Godward Youth and Time 1901(1901) Oil on canvas
72649 Youth and Time John William Godward Youth and Time Date 1901(1901) Medium Oil on canvas cyf

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John William Godward
English 1861-1922 Godward was a Victorian Neo-classicist, and therefore a follower in theory of Frederic Leighton. However, he is more closely allied stylistically to Sir Lawrence Alma-Tadema, with whom he shared a penchant for the rendering of Classical architecture, in particular, static landscape features constructed from marble. The vast majority of Godward's extant images feature women in Classical dress, posed against these landscape features, though there are some semi-nude and fully nude figures included in his oeuvre (a notable example being In The Tepidarium (1913), a title shared with a controversial Alma-Tadema painting of the same subject that resides in the Lady Lever Art Gallery). The titles reflect Godward's source of inspiration: Classical civilisation, most notably that of Ancient Rome (again a subject binding Godward closely to Alma-Tadema artistically), though Ancient Greece sometimes features, thus providing artistic ties, albeit of a more limited extent, with Leighton. Given that Classical scholarship was more widespread among the potential audience for his paintings during his lifetime than in the present day, meticulous research of detail was important in order to attain a standing as an artist in this genre. Alma-Tadema was, as well as a painter, an archaeologist who attended historical sites and collected artefacts that were later used in his paintings: Godward, too, studied such details as architecture and dress, in order to ensure that his works bore the stamp of authenticity. In addition, Godward painstakingly and meticulously rendered those other important features in his paintings, animal skins (the paintings Noon Day Rest (1910) and A Cool Retreat (1910) contain superb examples of such rendition) and wild flowers (Nerissa (1906), illustrated above, and Summer Flowers (1903) are again excellent examples of this). The appearance of beautiful women in studied poses in so many of Godward's canvases causes many newcomers to his works to categorise him mistakenly as being Pre-Raphaelite, particularly as his palette is often a vibrantly colourful one. However, the choice of subject matter (ancient civilisation versus, for example, Arthurian legend) is more properly that of the Victorian Neoclassicist: however, it is appropriate to comment that in common with numerous painters contemporary with him, Godward was a 'High Victorian Dreamer', producing beautiful images of a world which, it must be said, was idealised and romanticised, and which in the case of both Godward and Alma-Tadema came to be criticised as a world-view of 'Victorians in togas'.
John William Godward
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